Terrence Rattigan and the New Statesman

The magazine features in a revival of While the Sun Shines.

Terrence Rattigan had a close association with the New Statesman, most strongly just after the Second World War when his friend T C Worsley, who often spent winter breaks at Rattigan’s house in Bermuda, became the magazine’s literary editor and drama critic. In 1950 the playwright provoked the contemporary equivalent of a Twitter storm in the letters pages of the NS when, following a bad reception for his play Adventure Story about  Alexander the Great,  he published his article “Concerning the Play of Ideas” which took a swipe at the idea that drama had to address topical controversies, singling out Ibsen and Shaw for particular criticism. Shaw waded into the controversy closely followed by Sean O’Casey, James Bridie (playwright and translator of Ibsen), Benn Levy (playwright and Labour MP for Eton and Slough 1945-50), Peter Ustinov and Ted Willis.

Rattigan had success in the 1950s with The Deep Blue Sea and Separate Tables (which also features a copy of the New Statesman read by the Major disgraced by the disclosure of his conviction for a minor sexual offence), but his spell at the heart of the Zeitgeist was over, aggravated by his self regarding remarks after the first night of John Osborne’s Look Back in Anger.

The hundreth anniversary of his birth last year has produced a spate of Rattigan revivals and his reputation has been restored almost to the heights it reached in the 1930s and 1940s. The hugely successful recent production of his 1944 play Flare Path has now been followed by a revival of the play that immediately preceeded it, While The Sun Shines, at the Lion and the Unicorn Theatre in Kentish Town. Set in the London of 1943 when many couples were getting hitched only to be parted by the war, sometimes forever, this is not one of the playwright's social commentaries but a very funny comedy featuring the young Earl of Harpenden’s faltering progress towards the altar with Lady Elizabeth Randall. Matters are complicated by the earl’s entanglement with the comely Mabel Crum and Lady Elizabeth’s unwitting bewitching of both a Free French officer Lieutenant Colbert and the Earl’s new found American friend Lieutant Mulvaney. The Duke of Ayr and Stirling, Lady Elizabeth’s permanently impecunious father is desperate for the match to succeed so he can obtain a share of the Harpenden money to fritter away in the bookies – at one point he plays dice to decide which of the suitors will actually make it to the altar. A copy of the New Statesman is brandished at several points in the action, twice as Mabel Crum is dispatched to hide in the kitchen with the NS to keep her company and most memorably when Harpenden clashes with Colbert who proudly admits to being a socialist, convinced that the British aristocracy will soon be extinct. “Well I read the New Statesman, you know” retorts the distressed Earl.  The combination of misunderstandings, bed sharing, military uniforms and a splendid butler called Horton might make you think you’ve seen it before, but never better written than this and probably not better acted either. If you’re in need of cheering up you should go and fall in love with the cast, especially Greer Dale-Foulkes as Lady Elisabeth and Patrick Rogers as her aristo father – when you first see him, he seems a bit too young for the part but his comic ability soon erases those doubts. Rattigan would be delighted, and you will be too.

"While the Sun Shines" runs at the Lion and the Unicorn pub theatre in Gaisford Street, London NW5 until 17 June. Tickets from www.giantolive.com/tickets.html

Sophia Sibthorpe, Iestyn Arwel and Freddie Hutchins in When the Sun Shines
Getty
Show Hide image

The worst Oscar-winning films of all time

How hated movies have grabbed their space in the spotlight. 

Whilst the biggest surprise at last night’s Oscars was undoubtedly the part where they weren’t sure who’d actually won Best Picture, Suicide Squad also raised a few eyebrows. The critically-panned superantihero non-classic managed to take home an Academy Award, albeit in the category of Best Makeup and Hairstyling. Which raises the question: is Suicide Squad the worst film to have ever won an Oscar?

Obviously, the quality of a film is an ultimately subjective measure. Suicide Squad is someone’s favourite movie; every film is someone’s favourite movie, except for Sex Lives of the Potato Men. But if we want to get an "objective" view, one was is to look at a measure of the critical consensus, like Tomatometer on the website Rotten Tomatoes, which counts the percentage of good and bad reviews a film has received from critics.

Here, Suicide Squad ranks at a lowly 26 per cent (with such glowing lines as the Wall Street Journal’s “an all-out attack on the whole idea of entertainment”), which is one of the lowest scores an Academy Award-winning movie has ever received. But not the lowest.

Michael Bay’s historically dubious epic Pearl Harbor, which managed a win for Best Sound Editing, has a rating of just 25 per cent. As well as its Oscar, Pearl Harbor won Worst Picture at "anti-Oscars" The Razzies, the first film to do so that also had one of the real awards.

This kind of "technical" award is a good route to unlikely Oscar glory. Middling John Lithgow-meets-Bigfoot comedy Harry and the Hendersons isn’t remembered as an award-winner, but it took home the gold for Harry's makeup job. It can sometimes be overlooked that most films are a massive team effort, and there's something heartwarming about the fact people can get still be rewarded for being very good at their job, even if that job is working on a mediocre-to-terrible movie.

Still, if no-one working on the actual film does their job right, you can always get someone decent to write a song. The not very good (score: 33 per cent) eighties "steel welder wants to learn ballet" movie Flashdance took an award home for the Giorgio Moroder-composed title theme. He would also later bring home a much better film’s sole award, when he penned Top Gun’s Take My Breath Away.

Picking the right song is how what may be the lowest-rated Oscar winner of all time did it: The Richard Burton/Elizabeth Taylor melodrama The Sandpiper has a Rotten Tomatoes rating of just 10 per cent, but win it did, for the song The Shadow of Your Smile (which isn’t even actually very good; Burt Bacharach’s What's New Pussycat? was robbed.)

Even an Oscar winner that is praised by contemporaries can be undone by the cruelty of time. One of the lowest-scoring winners is 1936’s Anthony Adverse, at just 13 per cent - not only did it win for Best Cinematography, Best Supporting Actress, Best Soundtrack and Best Editing, it was nominated for Best Picture. But however praised the historical epic might have been at the time, because Rotten Tomatoes aggregates reviews from online media, it does not appear to have dated well.

Perhaps awards can only ever reflect the critical mood of the time - Singin’ In The Rain has a 100 per cent Tomatometer score, but took home no Oscars. Best Picture that year went to The Greatest Show On Earth, now judged a 44 per cent mediocrity. Perhaps by the 2080s film critics will be stunned that the newly re-appreciated acting masterclass Pirates of the Caribbean: Dead Man's Chest only won for its visual effects, be baffled that the lauded classic Suicide Squad wasn’t a Best Picture contender, and be absolutely 100 per cent certain that Jared Leto was the finest actor of his generation. Maybe the apocalypse wouldn’t be so bad after all.